PTE announces our incredible 12th Season

“2016 saw a landmark election that exposed deep divides within our country, and promised a shifting socioeconomic and political landscape. This led us to choose plays that are examples of how to respond, through the art of storytelling, to a changing political environment.”

-Brian Pastor, Artistic Director

The plays in our 12th Season will encompass themes of social commentary and satire, with parallels to our current climate, told through fantasy and absurdism.

Without further ado:

Marisol, by José Rivera

Originally produced by the Public Theatre in New York City, in a staging directed by Michael Greif (Rent, Grey Gardens) that won the 1993 Obie award for playwriting – Marisol depicts the story of the titular character, a copy editor for a Manhattan publisher. Though she is a white-collar worker, she still chooses to live alone in the tough section of the Bronx where she grew up. The play opens with Marisol barely escaping a vicious attack on her subway trip back to the Bronx. Later that evening, Marisol’s guardian angel pays a visit to tell her she can no longer serve as Marisol’s protector because she has been called to join the revolution already in progress against an old and senile God who is dying and “taking the rest of the universe with him.” Soon, Marisol is caught up in the Armageddon being fought on the streets of New York City.

Juan Castaneda

Director Juan Castaneda says, “No two people ever give the same answer to what Marisol is about. Is it about religion, or politics, race relations, the environment, gender equality, inner city violence, economics, poverty, or any other world issue you can think of? Our mission with this production is to figure out how to respond yes to all of those themes. Then we must help audiences realize that all of the issues surrounding these topics are interconnected. They are all one issue the same way we as people are part of one Earth. Finally, we must inspire audiences to realize that unity is the only way to combat these issues.”

JOSÉ RIVERAis the Obie Award winning author of Marisol, Cloud Tectonics, References to Salvador Dali Make Me Hot, and Boleros for the Disenchanted, among many others. His screenplay for The Motorcycle Diaries received an Academy Award nomination for Best Adapted Screenplay. More recently, he wrote the screenplays for Letters to Juliet, On the Road and The 33.

The Madwoman of Chaillot, by Jean Giraudoux

The Madwoman of Chaillot reveals a plot by a group of corrupt business executives who are planning to dig up the streets of Paris so they can pump oil that they believe lies beneath. Their plot is challenged by the titular “Madwoman,” the eccentric Countess Aurelia, an idealist who resolves to fight back and rescue humanity from the scheming and corrupt developers with the help of her fellow outcasts and her fellow madwomen. Originally written to protest thoughtless urban renewal, The Madwoman of Chaillot has remained remarkably up-to-date. Today, the play speaks to environmental concerns, the destruction of the natural world, and the manipulation of world financial markets.

John Arthur Lewis

Director John Arthur Lewis, who also staged Promethean’s productions of Anouilh’s The Lark and Giraudoux’s Tiger at the Gates, says “The play is surprisingly modern and accessible. In my head, it sounds like Aaron Sorkin at his funniest, Monty Python, or the craziest episodes of M*A*S*H. But there’s a lot of value in this play beyond the comedy.I think it can be something unique, powerful, and profound.”

JEAN GIRAUDOUX began his theatrical career in 1928 with Siegfried, a dramatization of his own novel. He most commonly sought inspiration in classical or biblical tradition as in Électre and Cantique des cantiques. He adapted Margaret Kennedy’s novel The Constant Nymph in Tessa, la nymphe au coeur fidèle and La Motte-Fouqué’s fairy tale of a water sprite who loves a mortal man as Ondine. Among Giraudoux’s other important works is La Guerre de Troie n’aura pas lieu (The Trojan War Will Not Take Place) adapted in English by Christopher Fry as Tiger at the Gates (staged by Promethean in 2015).

BLISS (or Emily Post is Dead!), by Jami Brandli

A Joint World Premiere with Moving Arts at Atwater Village Theatre in Los Angeles and in Association with Moxie Theatre in San Diego

It’s 1960 in North Orange, NJ. Clytemnestra and Medea are now housewives with a pill addiction, and Antigone is the teenage girl next door who is in love with a black boy. On the surface, they’re seemingly blissful to follow the “rules” of Emily Post, the American author famous for writing on etiquette. But that’s just the surface. Then Cassandra, a black working girl, moves into their neighborhood and all routines are interrupted. Cassandra is determined to finally break the curse of Apollo, the gorgeous and egotistical god who gave her this “gift” of prophecy but made it so no one would ever believe her. He makes it clear his curse is practically indestructible: yet all she must do is convince someone to believe her. Can Cassandra convince them they now have a choice in this modern era? That they don’t have to live a doomed existence? Can all four women escape their ongoing fate?

Erica Vannon

Director Erica Vannon says of BLISS, “I find the clever entanglement of the stories of Clytemnestra, Medea, Antigone, and Cassandra set in a not too distant past where etiquette, secrets, and social norms rule the women’s lives rival the high stakes of the original stories. In fact, I see the storytelling simultaneously parallel the past, the past-past, and the very present through a 1960’s New Jersey setting to ancient Greece and into the inequality and intolerance that grips us here in 2017. The story’s emphasis on a woman’s choice to change the narrative and the undercurrents of objectification, violence, racism, sexism, as well as the “ancient rage” of women is relevant today, now, and always.”

Jami Brandli

JAMI BRANDLI’s plays include Technicolor Life, S.O.E., M-Theory, ¡SOLDADERA!, Sisters Three, A Merry Little Christmas and BLISS (or Emily Post is Dead!) which was named in The Kilroys Top 46 List in 2014. Her work has been produced/developed at New Dramatists, WordBRIDGE, The Lark, New York Theatre Workshop, Great Plains Theatre Conference, Launch Pad, The Antaeus Company, Chalk REP, The Road, among other venues. Winner of John Gassner Memorial Playwriting Award, Holland New Voices Award and Aurora Theatre Company’s GAP Prize. Technicolor Life premiered at REP Stage as part of the 2015 Women’s Voices Theater Festival. BLISS (or Emily Post is Dead!) will receive a joint world premiere with Moving Arts, Moxie Theatre and Promethean Theatre starting this fall, 2017. She’s been a finalist for the 2016 PEN Literary Award for Drama, Playwrights’ Center Core Writer Fellowship, Princess Grace Award, O’Neill National Playwrights Conference and the Disney ABC TV Fellowship and was also nominated for the Susan Smith Blackburn Award. Her short works are published with TCG and Smith & Kraus. A proud member of the Playwrights Union, the Antaeus Playwrights Lab, and The Dramatist Guild, Jami teaches dramatic writing at Lesley University’s low-residency MFA program. She is represented by the Robert A Freedman Agency and Gramercy Park Entertainment.